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Legacy Hungarian broadcaster Juventus Radio changed its name this week. After a quick decision from regulator NNMH (National Media and Infocommuncations Authority) it is now known as Slager FM. The station, operating a Budapest license, offers “especially music of the eighties,” said managing director Zoltan Hauk, quoted by hvg.hu (October 30).
Juventus Radio was, until this week, Hungary’s oldest - more or less - continuously operating commercial radio brand, first on the air in 1989. It went through several owners - including Metromedia International and Communicorp - as well as program and distribution changes. Ayudate Investment Group bought the station in October 2013 then sold it to Tematic Media Group in June this year. (See more about media in Hungary here)
Slager FM is an interesting choice for the station’s name. Slager Radio operated as the top rated national channel until 2009 and a questionable license renewal decision. Danubius Radio, actually the country’s first commercial station, was also caught up in the same licensing problem.
Owners of Slager Radio and Danubius Radio - Emmis International and Advent Capital, respectively - appealed, sued and gave up. Neo FM replaced Slager Radio and it, too, eventually disappeared. Class FM replaced Danubius Radio and survives. Tematic Media Group also operates thematic TV channels, including Slager TV.
Italian media, media watchers and certain politicians have been grumbling about the €24 thousand fee paid to former Greek Finance Minister Yanis Varoufakis for a public TV appearance in September. Mr. Varoufakis was the face of the anti-austerity movement in Greece and, arguably, many other places. The interview on RAI3’s Che Tempo Che Fa lasted 22 minutes and pulled a 9.7% audience share. And, yes, there was a first class airplane ticket. You are, as they say, what you negotiate.
Those with well-endowed address books pause their political careers with investment banks and boards of directors. Others hit the speech and book circuit. For those with a measure of celebrity or notoriety this can be ample compensation for years toiling in the public space. There’s no business like show business, yes?
The weekly program is produced for RAI by Endemol Italia, which has a budget for things like famous folks appearance fees. “Politicians, of course, have never been paid for their participation,” said Endemol Managing Director Paolo Bassetti, quoted by Il Sole 24 Ore (October 30). Mr. Varoufakis is, he said, in a different category and received “a fee in line with the market.” Right-wing Italian politicians called for greater transparency. (See more about media in Italy here)
Former holders of public office - almost everywhere - take the call to TV seriously. Once you’ve been there it’s hard to resist. Candidates for high office, in recent times, hone their skills on reality TV shows; the skill-set easily transferable. Italian media noted that Mr. Varoufakis received no compensation from UK public broadcaster BBC for a similar appearance and was required to fly coach.
The oldest commercial music radio station in Russia, dating from the days of the Soviet Union, has left the FM band. First appearing in 1990 for St. Petersburg fans of foreign rock music, Radio Roks has been replaced on 102.0 FM with Country FM. The station continues online and via satellite.
Country FM, described on its website, is “to acquaint listeners with the culture of major cities and the Russian hinterland, to tell everybody about what a wonderful country we live in and are proud of.” (See more about media in Russia here)
Turmoil in Russian radio broadcasting has brought about many changes in ownership and programming. Radio Chanson owners Vladimir Maslov and Igor Yarkov acquired Radio Roks St. Petersburg and Moscow FM frequencies in July, along with others. They acquired the Keks FM Moscow frequency from European Media Group. Keks FM licensed the Canadian/US pop music format Jack FM. It, too, has been switched to Country FM. The Radio Roks Moscow FM frequency now offers Radio Chanson.
Russian Media Group announced last July intention to transfer broadcast assets to Russian State concert promoter Gosconcert, part of the Culture Ministry. Included is Radio Maximum, the oldest Moscow commercial radio station. Shortly thereafter the entire team of Radio Maximum morning show High Society was fired for being “insufficiently patriotic.”
News last week that French broadcaster TF1 and production house Newen Group are in “exclusive talks” was, if anything, further evidence that video producers are in demand as acquisition targets. Newen Group’s stable includes Telfrance, Capa Presse, Néria Presse and 17 Juin Media, producing everything from dramas (Plus Belle La Vie and Versailles), reality shows (Les Maternelles and L’effet Papillon) and comedies. As such, it sells to a variety of video outlets.
Harumph, interjected French broadcasters. Public broadcaster France Télévisions CEO Delphine Ernotte immediately “suspended development projects” with Newen Group, which produces the hit show Plus Belle La Vie for France 3 and Les Maternelles for France 5. Talks between TF1 and Newen Group are ongoing, a “significant majority” stake in discussion.
A hurriedly arranged meeting between Ms Ernotte and Newen Group CEO Fabrice Larue this week “went wrong,” reported media news portal puremedias.com (November 2). “The (French household) license fee should not be used to strengthen the TF1 share price,” said a France Télévisions spokesperson. “We are very attached to programs developed by public broadcasting and will not have TF1 pick them apart.” (See more about media in France here)
"We will continue to work with Newen, even if it belongs to TF1,” said M6 CEO Nicolas de Tavernost, quoted by Les Echos (November 1). “We must have control over rights. Without that, we will not take the risk of financing a (production) whose rights will accrue to TF1.” Vivendi recently took a 25% stake in the Banijay-Zodiak production house, causing little stir.
Being France, there is, of course, a back-story. French broadcasters - public and private - are currently obligated to acquire program content from independent producers. Percentages are under review by Culture Minister Fleur Pellerin, reportedly willing to make adjustments. Production houses, in turn, have certain rights to their work, even when shows are sold on to broadcasters or telecoms or Netflix. Mon dieu!
Audience measurement has never been an exact science. Adapting to the great digital dividend providers developed a range of technical solutions to, ostensibly, better pin-point new consumer behavior. New is, of course, fleeting. Measuring that mobile premium is the next challenge.
“It is fundamentally correct that radio consumption through headphones cannot be measured with the MediaWatch,” said Swiss measurement institute MediaPulse spokesperson Christopher Wehrli, quoted by media portal kleinreport.ch (November 2). Headphones, he explained, block the audio signal that the MediaWatch collects and reports. MediaPulse plans “a variety of improvements” in 2017, he added, but solving the headphone dilemma isn’t in the plan for “the foreseeable future.” (See more about audience measurement here)
Who has not noted gaggles of teens permanently, it seems, attached by headphones or earbuds to mobile phones? A 2011/2012 time use study found 7.9% of 15 to 24 year olds in the Swiss German-speaking region listening to radio with headphones. What are they listening to?
We may never know, unless chips are installed in every teenager. “Apparently not all involved have noticed how much radio and audio consumption has changed,” said Swiss broadcaster Giuseppe Scaglione. “You can just shake your head.”
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